A news release went out at am ET today. Now, an international group of strong-willed and taut-figured female curlers has dropped their drawers to pose nude — or nearly-nude — in a new fundraising calendar. As revealed in the November issue of The Curling Newsthe Ana Arce Team Sponsorship Calendar is shot in black and white, printed on high-quality art paper and features 12 models representing curling teams from around the world.
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Hair curlers and bad make up. Naked, eyebrows. Royalty-Free Stock Photo.
The subject who is truly loyal to the Chief Magistrate will neither advise nor submit to arbitrary measures. Women's curling is sure to receive a lot more exposure this year, thanks to a new international calendar that features nude and scantily clad female curlers. The calendar is the brainchild of Ana Arce, a photographer who skipped the Andorran women's team for three seasons before moving to Spain this year.
The year-old had appeared in a calendar called Fire on Iceone of two such calendars in which women curlers pose nearly naked with nothing more than a strategically placed broom. Gold medal in both categories, I think. No more promises.
Show us your bits. We'll show you the money. Some beads.
His torso has more ridges than a fjord. None of this would be all that unusual except that Ulsrud is a year-old curler. They bench press, bang out bicep curls and lay off the sauce. Some, like Ulsrud and Marc Kennedy, a Canadian Olympian, have gone so far as to showcase their physiques in racy promotional calendars for the sport.
Every four years, the Winter Olympics roll around — and practitioners of curling have to put up with the same lame jokes. Other athletes work hard to train their skills and tone their bodies, while curlers are more preoccupied with the latest Dairy Queen specialthe thinking goes. After all, how much athleticism can it take to push a stone along a sheet of ice in a game that isn't exactly what you'd call fast-paced?
Naturally, re viewers thought of only one thing. By the mid 70s, her career was well established, but her reputation was fraught: Wilke was both inside and outside of the crescendoing feminist art movement. Her sculptural work, which often eroticized industrial materials, recalled that of Eva Hesse, another post-Minimalist art world darling, and had attracted acclaim. Still, her beauty and perceived narcissism were irksome to some critics, and the wordplay in the titles of her pieces and shows signaled a winky exuberance some viewed as frivolous.